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VOLUME
Vol.05 Issue07 2025
PAGE NO.
112-116
10.37547/ajsshr/Volume05Issue07-20
24
Learning Analysis as A Driving Force of Literary
Education
Tillayeva Raykhona Tukhtasinovna
Namangan State Pedagogical Institute, Head of the Department of Philology, Doctor of Philosophy in Pedagogical Sciences (PhD),
Associate Professor, Uzbekistan
Received:
27 May 2025;
Accepted:
23 June 2025;
Published:
25 July 2025
Abstract:
This article provides an in-depth coverage of the methodology for analyzing, interpreting and teaching
a literary text in the context of educational analysis. The need to analyze a literary text based on its national
mentality, socio-historical context, structure, language and means of expression is emphasized. The structure of
the text forms a system of events based on personality, space and time, on this basis the topic is determined.
Form and content are seen as an inseparable unit. The language of the text contains figurative meanings,
secondary meanings and rebus constructions, which enrich the aesthetic perception of the reader. The process of
perception and interpretation depends on the knowledge, intuition and taste of the reader, allowing the text to
be read in a new way every time. In the process of teaching, creative active methods are used: dramatization,
retelling, studying the text in context, changing the focalization, etc., to form the reader's independent thinking
and artistic and intellectual skills. This approach makes literary analysis the main driving force of the educational
process.
Keywords:
Literary text, educational analysis, structure, language and expression, national mentality, system of
events, theme, perception, interpretation, creative approach.
Introduction:
In the context of contemporary
globalization, the challenge of identifying pedagogical
tools capable of fostering the development of
intellectually and morally mature individuals is critical,
particularly within the general secondary education
system. This objective necessitates achieving meta-
subject outcomes and mastering the scientific
knowledge that forms the content of the subjects
studied. In literary education, the humanistic cycle
plays a pivotal role, focusing on shaping the student’s
personality and developing their cultural and social
competencies. When engaging with any information
source, it is essential not only to assimilate factual
material but also to uncover and interpret its implicit
meanings. In teaching literature as a discipline,
students work with one of the most complex text
types
—
literary
texts
—
which
demands
active
intellectual engagement.
LITERATURE REVIEW
In general secondary education, literature classes
exhibit distinctive characteristics when working with
literary texts, particularly in how students perceive and
analyze these works. Their thinking is shaped by the
specific features of the chosen topic, emphasizing the
importance of contextual analysis in this process. The
methodology of teaching Uzbek literature has been
extensively explored in the works of scholars such as U.
Dolimov, A. Zunnunov, Q. Yo‘ldoshev, S. Matchonov,
M. Mirqosimova, Q. Husanboyeva, R. Niyozmetova, V.
Qodirov, E. Abduvalitov, and N. Yo‘ldosheva. These
studies primarily focus on modernizing pedagogical
approaches in literature education, enhancing
students’
literary
analysis
skills,
organizing
independent work, fostering independent thinking,
studying classical works, nurturing patriotism, and
exploring literature comparatively.
Additionally, certain studies address the role of the
author in literary works, particularly in epic literature.
Russian methodologists such as A.M. Antipova, G.I.
Belenkiy, O.Yu. Bogdanova, G.A. Gukovskiy, S.A. Zinina,
T.F. Kurdyumova, S.A. Leonova, M.A. Ribnikova, L.I.
Petriyeva, and V.F. Chertov have examined this issue
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alongside other aspects of literary education. The
concept of the literary text has been studied as a
distinct methodological issue in the works of L.A.
Zabrodina, V.A. Limerova, V.G. Maransman, N.Ya.
Meshcheryakova, and I.V. Rogojina.
METHODOLOGY
This study aims to establish the theoretical and
practical foundations for analyzing literary texts in
educational
settings,
employing
linguopoetic,
hermeneutic, semiotic, and sociocultural approaches.
A systemic-analytical method was used to examine the
t
ext’s structure, system of imagery, linguistic and
stylistic devices, and aesthetic-philosophical layers.
Additionally, didactic approaches were applied to test
methods such as dramatization, retelling, contextual
analysis, and focalization shifts, aimed at interpreting
literary texts in the classroom, shaping students’
perceptions, and developing their independent
thinking and analytical skills. Qualitative analysis
methods,
including
intertextual,
thematic,
compositional, and functional-stylistic approaches,
were also utilized.
As a result, innovative, aesthetic, and interactive
methods for teaching literary texts were proposed,
forming a robust foundation for developing
educational strategies that foster student personality
development.
ANALYSIS AND FINDINGS
Analyzing any literary text requires consideration of the
cultural mentality of the people to which its creator
belongs, as well as the text’s structure, theme,
language, and expressive characteristics. A key aspect
of a literary text is the author’s c
raftsmanship, which is
intrinsically tied to the cultural and spiritual domain.
Consequently, a text can only be analyzed and
evaluated within the parameters of this domain. A
literary text serves as a communicative medium,
emdiving unique characteristics. These include its
composite structure, its status as an artistic
phenomenon realized through language, the primacy
of the poetic function of language, the presence of a
single
signifier
with
multiple
signifieds,
its
reconstruction and recreation with each reading, the
inclusion of its intended audience within itself, its non-
referential
nature,
its
interpretation
and
transformation of reality, and its creation of a distinct
reality.
According to the *Uzbekistan National Encyclopedia*,
a text is defined as
: “1) a written or printed work,
speech (or a fragment thereof); 2) the part of a book,
newspaper, journal, etc., excluding images, tables, or
decorations; the main content of official documents,
distinct from annotations or explanations; 3) the words
writ
ten for musical works (e.g., operas, romances)” [1;
p. 975]. The *Explanatory Dictionary of the Uzbek
Language* defines a text as: “1) an author’s work or
document formalized in writing or print; 2) the main
content of a printed publication, excluding images,
drawings, and annotations” [2; p. 672].
It is noteworthy that literary texts are shaped by
traditions and build upon previous examples. As
Professor Q. Yo‘ldoshev aptly notes, “The creation,
perception, and analysis of a literary work are more
closely tied to the system of thoughts, feelings, values,
and beliefs of individuals than to the external reality
surrounding them. This is because a literary work
emerges as a reflection of the creator’s inner world
rather than external nature or reality. Thus, subjective
factors take precedence over objective ones in
creating, perceiving, understanding, and interpreting a
literary work” [3; p. 75]. From this perspective, applying
existing knowledge paves the way for creating
subsequent works and provides necessary materials. A
text with such characteristics is not merely historical,
social, psychological, or anthropological material;
however, various disciplines utilize, analyze, and
evaluate texts based on their principles. When
distinguishing literary texts by form and content,
analyzing form before content
—
or separating the
two
—
is neither beneficial nor accurate.
Working with texts while rooted in national mentality
encompasses the concepts, emotions, and aesthetic
tastes shaped by the social, political, administrative,
legal, military,
religious
forces,
civil
society
organizations, commercial and economic life, and
educational activities of a specific era. The theme,
form, and expressive style reflected in a literary text are
linked to the mentality of its time. Analyzing a literary
text should begin by focusing on its national
characteristics, always taking the text itself as the
primary basis. Discussing the social, political, and
economic structures of an era using external sources
does not constitute an analysis of the work from this
perspective.
Each literary text contains numerous expressive
elements and a unique structure that reflect the era
and national mentality. These elements are selected as
subjects of analysis and evaluated collectively.
Differences are evident when comparing texts from
different eras written on the same theme. For instance,
texts addressing themes such as love for nature, care
for others, or romantic love exhibit varied structures
and expressive styles across different periods. Similarly,
poetic works depicting the lifestyles of ordinary people
in large cities differ in structure and style from texts
portraying the aspirations of rural poor during the
same era. These differences can be used to understand
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the culture, societal values, worldview, and traditions
of the period in which the text was written. As noted,
“For a critic to authentically analyze a literary work, it is
not enough to know the author’s national identity,
beliefs, worldview, and the aesthetic characteristics of
their nation. The critic must also consider the national
identity, beliefs, worldview, and aesthetic preferences
of the readers engaging with the analysis” [4; p. 80].
This enables an explanation of how the text represents
its era and connects to its historical reality, derived
directly from the text itself.
TEXT STRUCTURE ANALYSIS
Analyzing a text’s structure serves to identify the
relationships between its constituent elements. These
elements represent distinct units within a system.
Structural analysis begins by identifying the units that
form the system. The human div, for example, is a
system comprising units such as the head, torso, arms,
and legs, with internal systems like digestion,
circulation, and the nervous system. Similarly, a literary
text is a cohesive system. Analyzing its structure
requires identifying its constituent units, primarily
characters, settings, and time, which are essential for
describing and organizing events. In narrative-based
texts, from oral folklore to novels and modern novels,
a system of events exists. The difference lies in the
components of the event system, their arrangement,
narration, and presentation. Therefore, analyzing
literary texts should begin with the event system, which
is never spontaneous but deliberately structured. The
primary distinction between narrative-based literary
texts and instructional texts lies in this structuring. The
event system emerges from aesthetically organized,
imagined, designed, and conceptualized components.
However, the starting point or model for these
imagined components is reality itself
—
not merely
reflecting reality but transforming and interpreting it.
Understanding the event system requires addressing
the question, “What is an event?” An event occurs due
to a conflict or interaction resulting from the individual
differences of at least two or three characters (or their
substitutes) brought together for a specific reason. For
an event to occur, characters, setting, and time are
essential. These elements combine to form a cohesive
whole around the event. Some elements may be
prioritized in expression, while others may not require
explicit mention. The event system consists of event
components unified around a central conflict or
encounter. Analyzing the relationships between these
components enables an understanding of the central
conflict. The concise and precise expression of the
central conflict constitutes the text’s theme. Structural
analysis is necessary to identify the theme.
Representing the event system as a schema clarifies the
functions of characters, setting, and time. In literary
texts based on emotional expression, such as poetry,
the structural units are combinations of sound and
meaning. These units must first be identified, followed
by an analysis of their interconnections. Each unit must
have its own meaning and value, but the text’s meaning
and value are not merely the sum of its units. Analyzing
the relationships between units leads to the text’s
theme. According to literary scholar T. Boboyev, “The
theme is the primary social issue raised and explored in
a work of art” [5; p. 100]. Thus, the theme is closely tied
to the text’s unique structure and expressive style.
The units forming the theme are often in the
background. The essence and purpose of the
relationships between these units must be examined to
uncover the theme. In both Washington both types of
texts, structural analysis is necessary to identify the
theme, requiring a systematic approach as if solving a
problem. Key considerations include:
1. The event system is not summarized or simplified but
analyzed. Ignoring the event system leads to errors in
discussing the functions of characters, setting, and
time.
2. The event system is imagined and structured.
3. Identifying the theme without structural analysis is
incorrect.
4. Every literary work has a unique theme.
5. The theme is an abstract concept outside the literary
text, concretized within the text through characters,
setting, and time.
6. Studying a literary text by separating form and
content leads to errors, as each form defines its
content, and each content defines its form.
7. After identifying the theme through structural
analysis, its historical and social significance,
importance to humanity, and role in the development
of culture and thought should be briefly addressed,
along with how it is portrayed in the work.
Analyzing the national mentality, structure, and theme
should be conducted through linguistic and expressive
analyses. The language of a literary text is a new
language derived from natural language, which is used
in everyday communication. The artist imbues
linguistic elements at every level with new meaning
and value to express a structure, narrative, or
emotional state more effectively. The goal is not to
instruct but to depict a transformed reality, evoking
aesthetic experiences in the reader. This imbues
language with personal values, achieved through
unique expressions and descriptions, adding emotional
value and enabling readers to perceive new meanings.
Consequently, the secondary meaning of artistic
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expression is understood more deeply.
Language, as a carrier of culture, facilitates
understanding of historical and social themes’
characteristics. Influenced by natural language,
individual language is expressed with personal
sensitivity, emerging through imagination. As noted,
“Literary texts utilize the poetic function of language,
with boundless possibilities for using linguistic
elements, particularly words, in a figurative sense to
create imagery. At the expressive level, the use of
linguistic elements with emotional and referential
intent is notable, creating conditions for secondary
meanings to emerge. These secondary meanings
enable the text’s reconstruction and enrichment with
new interpretations over time” [source not specified].
The distinction between literary and natural language
can be demonstrated through examples from the text,
identifying its linguistic characteristics, focusing on
sound and pronunciation where appropriate, and
explaining the reasons for using words and phrases
beyond their primary meanings. These are integral to
expressing the text’s linguistic properties. Exploring
expressions that enrich the text’s secondary meanings
and emotional impact is essential for revealing the
characteristics of literary language. Addressing
secondary meanings is crucial, as it facilitates entry into
the text’s world and helps distinguish it from others.
MEANING AND INTERPRETATION
The interpretation of literary texts begins with the core
of their meaning. Understanding a text’s meaning
requires examining its linguistic indicators, sound,
pronunciation, and structure. Meaning is the effect
elicited in the recipient during communication,
requiring all textual elements to manifest. Meaning
arises within a specific context and can be understood
differently across contexts, emerging through a
dialogue between two contexts. The meaning of
academic texts is determined by the context in which
they were created, and the recipient interprets it
accordingly, typically resulting in a singular meaning.
According to Professor S. Matchonov, “A literary text
differs from an academic text due to its imagery. Just as
understanding an academic text requires knowledge
and skill, grasping the essence of a literary text
demands serious effort” [6; p. 106]. Thu
s, working with
a text involves understanding and perceiving its
essence, requiring a mechanism to assimilate its artistic
and ideological characteristics.
As methodologist S. Kambarova notes, “A literary text
is one that evokes a response and possesses artistic and
ideological qualities, aligning with the reader’s internal
developmental tendencies. A completed text is a
unique artistic representation of the entire world.
Unlike other academic disciplines that present it
fragmentarily, the world depicted in a literary work
finds its reflection in a plot based on a specific reality.
The progression of events guides the reader into the
work’s artistic world, making immersion in events,
experiencing characters’ emotions, and perceiving
conflicts a significant p
art of the activity” [source not
specified].
Like other literary texts, the meaning of some texts
varies depending on the context of reading and the
recipient. As the recipient or their circumstances
change, the text acquires new meanings. Such texts are
structured to allow new meanings to emerge with each
reading. All textual elements play a crucial role in
generating diverse and new meanings. Since the work
remains unchanged, the transformation occurs within
the recipient. As a recipient, the reader recreates the
text through their imagination, culture, taste, and
knowledge, a process termed “reception.” According to
methodologist R. Niyozmetova, “Understanding a
text’s content, combined with aesthetic experiences,
expresses analytical-synthetic activity, leading to
artistic perception. As the reader strives to understand
the work’s content, they aim for clarity in what they
retain. When the process of artistic perception joins,
the content is received with certain transformations. A
student preparing for literary studies gradually masters
this level” [8; p. 29].
Reception does not require altering the text’s essence.
However, the reader, with their evolving worldview,
thinking style, culture, taste, and knowledge, must
continually reassess the text’s charac
teristics. This
reassessment and naming are called “interpretation.”
Interpreted works emdiv multiple meanings, a
hallmark of literary texts, which are enriched with new
meanings and reconstructed with each reading. The
work itself contributes to generating new meanings, as
literary texts are designed to allow such openness. In
open texts, meaning varies based on the reader’s
perspective, with ideas, events, emotions, and images
described with intentional gaps, which the reader fills
based on their desires, thought, and imagination.
Literary texts, especially poetic works, become more
impactful through sound, pronunciation, language, and
imaginative possibilities. The dialogue between the
context of the text’s creation and its reading also plays
a role. According to psychologist E. G‘oziyev, “Interest
in reading fosters interest in its content, creates a need
for knowledge, and forms reading motivations” [9; p.
113]. Methodologist Sh. Sariyev notes, “During the
reading process, students become acquainted with the
work’s artistic and id
eological qualities and events.
Based on the work’s genre, the text can be read
expressively, with commentary, or by role-playing.
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Reading a literary text helps vividly imagine the
described scenes and draw relevant conclusions from
the characters’ actions” [source not specified].
TEXT ANALYSIS IN EDUCATION
Text analysis in education is the teacher’s primary task.
Q. Yo‘ldoshev defines this type of analysis as: “an
aesthetic-pedagogical activity conducted collectively to
shape students into well-rounded individuals by
understanding the contemporary and artistic logic and
aesthetic uniqueness of the studied literary work” [3; p.
75]. The primary goal of educational analysis is to
identify
the
work’s
artistic
and
ideological
characteristics and develop student
s’ logical thinking,
creative imagination, independent reasoning, and oral
speech skills through mastering analysis methods.
CONCLUSION
The above discussion indicates that each character’s
consciousness in a literary work is inseparable from
their personality, serving as a carrier of a specific idea,
with their inner experiences and each event being
significant and symbolic for their characterization.
Direct authorial evaluations or explicitly expressed
opinions are absent in the work. The reader can only
understand these through reading the work to its
conclusion. In summary, understanding a literary text is
impossible without grasping the interplay of its various
structural levels: the system of imagery, plot
construction, genre specificity, issues, conflicts, and
psychologism.
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